Coronavirus Information på dansk / Information in English

Edition #01 - Notercam de Paris – University of Copenhagen

Audiovisual Thinking

Home > Videos > Edition #01 - Notercam...

Notre-Cam de Paris by Albert Figurt

The video-project is about how the increasing proliferation of digital cameras (or, more generally, optical devices) among ordinary people & the astonishing overlapping of the framing activity around specific spots, crossed with the visibility given to the photographer's choice by the LCD technology, can give birth to a peculiar visual panorama around the "target".

In a formula: proliferation of digital cameras with LCD preview-screen + the act of touristic framing = multifaceted & redundant postcard-ism (in famous public spots).


Contributions

About the AESTHETICS: I never show the rose on camera, focusing instead on how it is prismatically redistributed, spread, serialized on the LCDs all around: an astonishing iper-icon infoscape, a vivid allegory of our highly mediatized era (not necessarily invoking postmodernism, multitasking or window-based interfaces) precisely because of its centripetal nature, this miniscreen-cluster rings several bells: you may think of one of the founding short-stories of cyberpunk, “Fragments of a Hologram Rose” by William Gibson, where all the pieces of a broken laser photo contain the whole picture information / you can sense a Warholian deja-vu, considering that not every white balance in the house is calibrated with the same values (so you’re looking at slightly different replicas of the original silk screen) / and obviously - since we’re in a church - you can easily build a parallel with the Holy Communion, where the body of Christ is symbolically divided into smaller units and delivered to the believers: of course, according to the Eucharist ceremonial, all the wafers are equal; nevertheless, each of them has to be perceived and regarded as a precious and intimate gift - and that’s what happens here, where Catholic iconophilia meets transnational technological iconoconsumerism (note that a real mass is taking place in the church and, simultaneously, on its CCTV).

About the MUSIC: the soundtrack is based on two cantatas by Alessandro Scarlatti (1660?-1725): the first, “Bella Madre de Fiori” (literally “Beautiful Mother of Flowers”), is a profane one, celebrating Venus and love; the second, “Magnificat”, is a sacred one (frequently sung liturgically during Christian services), and contains an excerpt from the Gospel of Luke - where the Virgin Mary praises God. Although based on two opposite concepts of “ecstasy” and “emotional transport” (and specifically composed to be performed in different spaces / occasions) both the cantatas can describe the fascination for the big-colorful-window-rose : symbol of nature and fertility, sort of divine pupil, mesmerizing western mandala or esoteric map, it’s the centripetal element of the situation and of my mediated investigation.

Hosted by University of Copenhagen